Review: The Rise of Suzi Quatro
Pictured: The Rise of Suzi Quatro at Australian Modern (L to R: Georgie Neilsen, Ellen Hartwig, and Chloe Marks (Shani Miriam not pictured). Picture credit: Creative Futures Photography.
The 14 May world premiere of Georgie Neilsen’s showcase of Suzi Quatro’s 1970s hits was a memorable addition to the special list of Australian Modern events. It was also a house first—what Chris Osborne described as ‘Australian Modern’s first full-on rock-n-roll gig.’
The program promised 60 minutes, but the performers delivered an incredibly special 80-ish minutes of hits that topped the Australian charts. Shani Miriam (keys and ukulele), Ellen Hartwig (V-guitar), Georgie Neilsen (bass and lead vocals), and Chloe Marks (drums) played together like veterans. Particularly impressive, as Neilsen confessed to being only 22, and having ‘picked up’ playing the bass guitar for the concert, and Hartwig normally plays bass guitar.
Suzi Quatro’s first solo hit was ‘Can The Can,’ which went to number one in May 1973, and was a perfect choice to open the evening. Spines tingled, toes tapped, and the audience was well-and-truly hooked as soon as the drumbeat started, the V-guitar flew, and Neilsen began to sing.
Between 1973 and 1980, Suzi Quatro featured in the British charts for over 100 weeks, and had great success around the world (including, of course, in Australia). Neilsen was not able to cover the full catalogue in this show, but we certainly had a number of highlights. The audience hadn’t even finished applause for ‘Can the Can’ before the band gave us an excellent ‘48 Crash.’
Even with a husband who is a big Quatro fan, I didn’t recognise all of the numbers in the set. It’s always great to discover ‘new’ material. I loved ‘Glycerin Queen,’ which was new to me; a great performance by the band, with an excellent solo by Hartwig. We also rocked and rolled through crowd-pleasing hits such as ‘The Wild One,’ and ‘Your Mama Won’t Like Me.’ I am guessing that the band members really liked ‘Lipstick,’ and the closing ‘Mama’s Boy,’ as they were performed with particular passion and style. And of course no Suzi Quatro set would be complete without the 1970s hit ‘Stumblin In’—which worked really well as a duet between Marks and Neilsen, with great harmonies by the whole band.
Picture: At home at Australian Modern (L to R: Shani Miriam, Georgie Neilsen, Ellen Hartwig, and Chloe Marks). Credit: Creative Futures Photography.
Picture: Chloe Marks (Picture credit: Creative Futures Photography).
Picture: Georgie Neilsen (Credit: Creative Futures Photography).
The Rise of Suzi Quatro wasn’t a ‘tribute act’ or re-enactment—although we did hear that it was inspired by Susan Osborne’s comment about Neilsen looking quite similar to Suzi Quatro, and enhanced by the ‘shaggy dog’ hairstyle and leather-look outfit. But it certainly was a very special homage, interspersed with reflections by Neilsen and Hartwig as to Suzi Quatro’s impact on their own lives and also on the music industry.
The performance by an all-female band, and comments about the 1970s music ‘written by men, for men,’ were a thoughtful recontextualization of Suzi Quatro’s work and impact (for example in the introduction to ‘Daytona Demon’). Neilsen’s story about the 1974 visit by Suzi Quatro—complete with a Hells’ Angels airport welcome and bikers riding on stage—highlighted the challenges facing a female lead in 1970s Australia. And following that particular introduction, the room really did ‘come alive’ with the fabulous performance of ‘Devil Gate Drive’ (excellent work on keys by Miriam).
I was fleetingly concerned as many of the references to the success and influence of Suzi Quatro sounded as if it was all over. Fortunately for fans, even after over 50 years in the limelight, Suzi Quatro is still touring and releasing records. Also fortunately for fans and new audiences alike, many younger performers celebrate the impact of the leather-clad bassist from Detroit. Georgie Neilsen and band’s celebration of ‘lil’ Suzi’s impact on rock-n-roll music, and reflection as to the legacy of this trail-blazing role model, was a memorable event.
Yes, it was a little odd to be sitting in a family lounge room listening to a full-on rock concert. But also so incredibly special to celebrate the music and impact of Suzi Quatro. Georgie Neilsen and band proved that they’d be more than up to entertaining a Tivoli full house. So when I’m in the Tivoli audience, at least I can tell everyone I was at the official world premiere!
Difficult to believe that it’s almost a year since we were listening to the fabulous Melissa Western, and watching Kim and Albie dancing to Etta James’ ‘Good Rockin’ Daddy!’ I always recommend seeing any Anywhere Festival events at Australian Modern. You’ll enjoy a memorable evening: fabulous performers, great company, and a warm welcome to an intimate and stylish house party (and occasional rock concert). I can’t wait for next weekend’s Silver Sircus: Home/Truth. If you’re quick, you may just nab the final tickets for the 22 May Australian Modern event.
Verdict: Four great musicians, celebrating the trail-blazing impact of Suzi Quatro. Keep an eye out for future performances by Georgie Neilsen and band; you won’t be disappointed.
Picture: Recreating that famous LP record cover (L to R: Shani Miriam, Chloe Marks, Georgie Neilsen, and Ellen Hartwig). Picture credit: Creative Futures Photography.
Audience Information: Tickets $50 (plus $2.50 booking fee). 80 minutes. The show had only one sell out performance during the Anywhere Festival (14 May).
The reviewer attended the 14th May 2021 (7:30pm) performance. A version of this review also appeared on the Anywhere Festival website.